Sony FX2

The Sony FX2 is a full-frame mirrorless camera released in 2025. Its 33MP sensor provides high resolution for stills, and the Sony E mount opens up more than seventy lenses.

The feature set leans toward moving images. Ten-bit S-Log3 recording, anamorphic desqueeze modes and RAW output over HDMI are filmmaking tools, so anyone shooting video alongside photography gets both in one body.

The body weighs 679g before any lens is attached. Framing is handled through an electronic viewfinder and a 3-inch touchscreen that flips for angled shots.

4K comes in two modes. Full-frame 4K runs up to 30p, oversampled from 7K. When you need faster motion, Super 35 4K reaches 60p with 4.6K oversampling, using a crop that narrows your angle of view.

Slow motion tops out at 120fps, but only in Full HD. Action and effect work is still covered, just at 1080p rather than in 4K.

Grading-friendly recording options are supplied. Ten-bit 4:2:2 with S-Log3 serves colour grading work, S-Cinetone offers a more finished look with less grading, and XAVC S-I rounds out the choices.

For larger workflows, 4.7K RAW output goes over HDMI to an external recorder. The APS-C crop applies in this mode, so plan lenses and framing around the tighter field of view.

A 33MP full-frame sensor is the foundation. That resolution leaves room to crop tightly or push files large in print, and the full-frame format gives the depth-of-field character most photographers expect from it.

Lens choice is the strongest practical asset here. More than seventy high-performance E-mount lenses are available, so you can start with a single prime and build a system over years without changing mounts.

Framing runs through an electronic viewfinder. Because the camera is mirrorless, the viewfinder shows a live feed from the sensor rather than an optical path, so what you see is the captured framing.

Anamorphic shooters get support as well. The desqueeze display offers 1.3x and 2.0x modes, letting you preview squeezed footage at natural proportions while recording. It is a display aid rather than a recording change, but it makes judging framing much easier.

The rear screen measures 3 inches and offers touch input. It also flips, which doubles as a framing aid: you can hold the camera away from eye level and still see what you are capturing.

That flip helps most when the camera sits low or high. Waist-level and overhead setups become practical without contorting to squint at a fixed screen, and checking the frame stays quick while the camera moves between angles.

Touch input rounds out the control options. Menus and settings respond to taps without digging through buttons, and a flipped screen stays touch-enabled, so the camera remains direct to operate even at unusual angles.

Two memory card slots are built in. The immediate benefit is capacity: two cards can sit loaded at once, so considerably more recording media is ready before a swap interrupts a shoot.

How the slots work together, whether for overflow, backup or separate card types, was not supplied. Confirm the exact configuration before relying on it for a specific workflow, since a card change mid-scene is disruptive when a moment cannot be repeated.

Battery endurance, accepted card formats and USB charging details were also not supplied. Those gaps matter most for long video days, so check them against your intended use before planning extended sessions.